Showing posts with label Amazing Temples of India. Show all posts
Showing posts with label Amazing Temples of India. Show all posts

Friday, September 3, 2010

In the land of the ‘Om’ - Omkareshwar Jyotirlinga


An island shaped like the most sacred of Hindu symbols, the Om, a mountainous region covered with ancient temples, the sacred Narmada flowing on either side, smoothening the rough rocks into pebbles to be carried away by pilgrims and venerated as Shiva Lingams, Omkareshwar is all that and more.


Home to one of the 12 Jyotirlingams, the island of Omkareshwar is venerated almost as much as the lingam itself. 

There are two main temples at Omkareshwar, one on the mainland and one on the island. The island temple is credited to Mandhata, an ancestor of Rama, who installed the lingam and built the temple. While most consider this one to be the Jyotirling, the place abounds in myth and legend. According to one, this lingam is believed to have split into two and installed itself on the other bank too. According to others, it is the temple of Mamleshwar (also called Amaleshwar or Amareshwar) on the mainland which is older and the real Jyotirling. 
Omkareshwar Temple
Omkareshwar Temple


Mamleshwar the Jyotirling: 

While the island temple has received much attention in the past and has been renovated recently, the Mamleshwar temple certainly looks much older and more beautiful too. The Mamleshwar temple is also more endearing thanks to the absence of the pandas (priests) who are the most prominent feature of the Omkar Mandhata temple on the island. We visited the Mamleshwar temple at night before the final aarti was performed, and had to literally hunt out a priest to perform abhishek to the lord, and the one we finally found was so thrilled by all the items we had brought for the puja that he happily did the elaborate puja with a smile on his face and asked for money only when we were done.

Omkar Mandhata

For a long time, the only way to approach the island was by boat. Now, there are two bridges, one connecting the boat landing area to the Omkar Mandhata temple, the other connecting the two temples — Omkareshwar and Mamleshwar. No vehicles are allowed on the island, so both are only foot bridges. The Narmada which once flowed fast and furious along this stretch is now a tame river, thanks to a dam mired in controversy, of which one gets a wonderful view from the bridge. 

The entire island is a hilly area, and it is these hills which give it the shape of the Om. Just a few steps take us to the temple, which is visible from quite a distance. 
Chitrapat Kshetra
Chitrapat Kshetra
At a lower level, just below the main temple is a small entrance to a cave. Today, the inner parts of the cave are no longer accessible, but at the entrance is an image of the sage who made this cave his home — Sri Govinda Bhagavatpada — the guru of Adi Shankaracharya. It was to this cave that the young Shankara came, having given up his home, seeking the preceptor who would lead him to the light. It is here that he came as a young boy, swimming across the furious waters of the Narmada, and left, a sanyasi with a mission! In spite of the rampant commercialization of Omkareshwar, this small cave has maintained its sanctity, the sanctity that can be felt at once as you enter the cave!


Omkareshwar
Omkareshwar
The roads are lined with shops, big and small, selling all the paraphernalia of Indian prayer rituals, but the main commodity in these shops is are the Shiva Lingams. It is a belief that every stone found in the Narmada is a Shiva Lingam, and every few yards sits a child or a woman selling stones picked from the depths of the river. Prices start from Rs 21 onwards and especially coveted (and expensive) are the black stones with a white line passing through, which signifies the Upavita, or sacred thread. 

Omkareshwar Parikrama: 

While it is for the temples that most pilgrims visit Omkareshwar, the most interesting thing about the island is the island itself. With its unique shape, the island itself has been venerated, and over centuries, scores of temples have been built on it. The ancients not just built the temples, but also made a path so that one could visit all the temples while circumambulating the entire island. This is called the Omkareshwar Parikrama, and has been recently revived by MP Tourism. 

The Parikrama path starts near the bridge and moves along the Narmada till it joins its tributary, the Kaveri (so called, even though it is the same river, diverging from the main river at the other end of the island), passing through temples old and new, some standing tall and proud, others in ruins, winding its way along the mountains, now climbing to yet another temple, now descending to the bank of the river, finally culminating at the temple consecrated by Mandhata. The well paved road is about nine kms long, and takes, at the most, three and a half hours to cover, including rest stops at the various temples. It is quite an easy trek, considering that my son, who is six and my father-in-law, who is 70, both completed it without too much trouble!


There are many places of interest along the path. The first is the sangam or confluence of the two tributaries of the Narmada. This is, for a change, clean and perfect for a bath. The clear water with rounded pebbles forming the river bed invites us to sink our feet into it and enjoy a relaxed dip, while the more devout pilgrims (few, at the best of times, since it is almost an hour’s walk from the bridge) offer prayers. 

Temple in India
Temple in India
An interesting custom is followed here. Big and small stones are collected from the river and piled up along the bank with prayers to the goddess of the river. One of the villagers there told us that people stacked these stones in the hope that they would be able to build houses as easily as they stacked these stones! We found these stacked up stones not just at the confluence, but all along the river bank, in fact, all over the Parikrama path!


Then there is the Gori Somnath Mandir, an ancient temple where the lingam is a huge one, jet black in colour. Legend tells us that this lingam was once pure white, and that one could see his past life just by standing in front of it. Then came Aurangzeb, and as soon as he appeared in front of the lingam, it turned black! This is one of the few temples in the area still intact to a large extent. Though many of the beautiful sculptures have fallen down, it still stands tall and proud among the ruins of others which have not been as fortunate!

As we climb down the final steps which lead us to the end of the Parikrama, our aching legs yearn for a rest, but we feel fresh inside, and can’t help thinking that we arrived at Omkareshwar to see one of the Jyotirlings, and were appalled with the rampant commercialisation, but returned with so much more, an inner peace that comes from a truly spiritual experience!

How to reach

Omkareshwar is situated about 65 kms from Indore and 256 kms from Bhopal. The road from Indore takes us through the mighty Satpura ranges, and winds its way along the Ghats before opening up into a plain covered with cotton fields and irrigated by the Narmada. The journey from Indore to Ujjain takes a little more than an hour by car and about one-and-a-half hours by bus.
Direction to Omkareshwar
Direction to Omkareshwar

There are plenty of buses available on this route, both, those run by the MPRTDC as well as private ones. They can certainly not be classified as luxury, but they are comfortable and adequate for the short journey. A car hire for the one way trip costs about Rs 1200.



Sunday, August 29, 2010

Architecture of the Hindu temple



Ancient Indian thought divides time into four different periods. These durations are referred to as the Krta; Treta; Dvapara; and Kali.

The first of these divisions (Krta), is also known as satya-yuga, or the Age of Truth. This was a golden age without envy, malice or deceit, characterized by righteousness. All people belonged to one caste, and there was only one god who lived amongst the humans as one of them.

In the next span (Treta-yuga), the righteousness of the previous age decreased by one fourth. The chief virtue of this age was knowledge. The presence of gods was scarce and they descended to earth only when men invoked them in rituals and sacrifices. These deities were recognizable by all.

In the third great division of time, righteousness existed only in half measure of that in the first division. Disease, misery and the castes came into existence in this age. The gods multiplied. Men made their own images, worshipped them, and the divinities would come down in disguised forms. But these disguised deities were recognizable only by that specific worshipper.


Kali-yuga is the present age of mankind in which we live, the first three ages having already elapsed. It is believed that this age began at midnight between February 17 and 18, 3102 B.C. Righteousness is now one-tenth of that in the first age. True worship and sacrifice are now lost. It is a time of anger, lust, passion, pride, and discord. There is an excessive preoccupation with things material and sexual.


Temples appeared on the horizon only in the Kali-yuga. During this existing last phase, temples (as public shrines), began to be built and icons installed. But the gods ceased to come down and appear in their own or disguised forms. However, their presence could be felt when the icons were properly enshrined, and the temples correctly built. In contrast to the previous periods when the gods were available to all equally, now it is only the priests, belonging to a traditional hierarchy of professional worshippers, who are the competent individuals to compel this presence.


From the contemporary point of view, temples act as safe haven where ordinary mortals like us can feel themselves free from the constant vagaries of everyday existence, and communicate personally with god. But our age is individualistic if nothing else. Each of us requires our own conception of the deity based on our individual cultural rooting. In this context it is interesting to observe that the word ‘temple,’ and ‘contemplate’ both share the same origin from the Roman word ‘templum,’ which means a sacred enclosure. Indeed, strictly speaking, where there is no contemplation, there is no temple. It is an irony of our age that this individualistic contemplative factor, associated with a temple, is taken to be its highest positive virtue, while according to the fact of legend it is but a limitation which arose due to our continuous spiritual impoverishment over the ages. We have lost the divine who resided amongst us (Krta Yuga), which is the same as saying that once man was divine himself.


But this is not to belittle the importance of the temple as a center for spiritual nourishment in our present context, rather an affirmation of their invaluable significance in providing succour to the modern man in an environment and manner that suits the typical requirements of the age in which we exist.


Making of the Temple

The first step towards the construction of a temple is the selection of land. Even though any land may be considered suitable provided the necessary rituals are performed for its sanctification, the ancient texts nevertheless have the following to say in this matter: “The gods always play where groves, rivers, mountains and springs are near, and in towns with pleasure gardens.” Not surprisingly thus, many of India’s ancient surviving temples can be seen to have been built in lush valleys or groves, where the environment is thought to be particularly suitable for building a residence for the gods.

No matter where it is situated, one essential factor for the existence of a temple is water. Water is considered a purifying element in all major traditions of the world, and if not available in reality, it must be present in at least a symbolic representation in the Hindu temple. Water, the purifying, fertilizing element being present, its current, which is the river of life, can be forded into inner realization and the pilgrim can cross over to the other shore (metaphysical).

The practical preparations for building a temple are invested with great ritual significance and magical fertility symbolism. The prospective site is first inspected for the ‘type,’ of the soil it contains. This includes determining its color and smell. Each of these defining characteristics is divided into four categories, which are then further associated with one of the four castes:

- White Soil: Brahmin
- Red Soil: Kshatriya (warrior caste)
- Yellow Soil: Vaishya
- Black Soil: Shudra

Similarly for the smell and taste:

- Sweet: Brahmin
- Sour: Kshatriya
- Bitter: Vaishya
- Astringent: Shudra (a reminder perhaps of the raw-deal which they have often been given in life)

The color and taste of the soil determines the “caste” of the temple, i.e., the social group to which it will be particularly favourable. Thus the patron of the temple can choose an auspicious site specifically favourable to himself and his social environment.

After these preliminary investigations, the selected ground needs to be tilled and levelled:

Tilling: When the ground is tilled and ploughed, the past ceases to count; new life is entrusted to the soil and another cycle of production begins, an assurance that the rhythm of nature has not been interfered with. Before laying of the actual foundation, the Earth Goddess herself is impregnated in a symbolic process known as ankura-arpana, ankura meaning seed and arpana signifying offering. In this process, a seed is planted at the selected site on an auspicious day and its germination is observed after a few days. If the growth is satisfactory, the land is deemed suitable for the temple. The germination of the seed is a metaphor for the fulfilment of the inherent potentialities which lie hidden in Mother Earth, and which by extension are now transferred to the sacred structure destined to come over it.

Levelling: It is extremely important that the ground from which the temple is to rise is regarded as being throughout an equal intellectual plane, which is the significance behind the levelling of the land. It is also an indication that order has been established in a wild, unruly, and errant world.

Now that the earth has been ploughed, tilled and levelled, it is ready for the drawing of the vastu-purusha mandala, the metaphysical plan of the temple.


The Metaphysical Architecture of the Temple

The basic plan of a Hindu temple is an expression of sacred geometry where the temple is visualized as a grand mandala. By sacred geometry we mean a science which has as its purpose the accurate laying out of the temple ground plan in relation to the cardinal directions and the heavens. Characteristically, a mandala is a sacred shape consisting of the intersection of a circle and a square.

The square shape is symbolic of earth, signifying the four directions which bind and define it. Indeed, in Hindu thought whatever concerns terrestrial life is governed by the number four (four castes; the four Vedas etc.). Similarly, the circle is logically the perfect metaphor for heaven since it is a perfect shape, without beginning or end, signifying timelessness and eternity, a characteristically divine attribute. Thus a mandala (and by extension the temple) is the meeting ground of heaven and earth.

These considerations make the actual preparation of the site and laying of the foundation doubly important. Understandably, the whole process is heavily immersed in rituals right from the selection of the site to the actual beginning of construction. Indeed, it continues to be a custom in India that whenever a building is sought to be constructed, the area on which it first comes up is ceremonially propitiated. The idea being that the extent of the earth necessary for such construction must be reclaimed from the gods and goblins that own and inhabit that area. This ritual is known as the ‘pacification of the site.’ There is an interesting legend behind it:

Once when Shiva was engaged in a fierce battle with the demon Andhaka, a drop of sweat fell from Shiva’s forehead to the ground, accompanied by a loud thunder. This drop transformed into a ravenously hungry monster, who attempted to destroy the three worlds. The gods and divine spirits, however, rushed at once on to him and held him down. When the demon fell on the ground face downwards, the deities lodged themselves on to the different parts of his body and pressed him down. It is because of this reason that the recumbent individual came to be known as ‘Vastu,’ which means the lodgement of the gods. He is pictured as lying down inside the mandala with his arms and legs so folded as to cover the whole area, and his head pushed into the north-eastern corner of the square. As many as forty-five gods are lodged on his body directly on the limbs and joints.


This vastu-purusha is the spirit in mother-earth which needs to be pacified and is regarded as a demon whose permission is necessary before any construction can come up on the site. At the same time, care is taken to propitiate the deities that hold him down, for it is important that he should not get up. To facilitate the task of the temple-architect, the vastu-mandala is divided into square grids with the lodging of the respective deities clearly marked. It also has represented on it the thirty-two nakshatras, the constellations that the moon passes through on its monthly course. In an ideal temple, these deities should be situated exactly as delineated in the mandala.


In the central grid of the vastu-mandala sits Brahma, the archetypal creator, endowed with four faces looking simultaneously in all directions. He is thus conceived as the ever-present superintending genius of the site. At this exact central point is established the most important structure of the sacred complex, where the patron deity of the temple is installed. Paradoxically this area is the most unadorned and least decorated part of the temple, almost as if it is created in an inverse proportion to its spiritual importance. Referred to as the sanctum sanctorum, it is the most auspicious region in the whole complex. It has no pillars, windows or ventilators. In addition to a metaphysical aspect, this shutting off of air and light has a practical side to it too. It was meant to preserve the icon, which, in olden days, was often made of wood. Also, besides preventing the ill effects of weathering, the dark interior adds to the mystery of the divine presence.

Throughout all subsequent developments in temple architecture, however spectacular and grandiose, this main shrine room remains the small, dark cave that it has been from the beginning. Indeed it has been postulated (both by archaeology and legend), that the temple developed from the cave-shrine of the extremely remote past. This is another instance in Hinduism where the primitive and the modern, along with all the developments in-between, can be seen to co-exist remarkably and peacefully.


When the devotee enters a temple, he is actually entering into a mandala and therefore participating in a power-field. The field enclosures and pavilions through which he must pass to reach the sanctum are symbolic. They represent the phases of progress in a man’s journey towards divine beatitude. In accordance with this scheme of transition, architectural and sculptural details vary from phase to phase in the devotee’s onward movement, gradually preparing him for the ultimate, awesome experience, which awaits him in the shrine.

This process mirrors the four-phased spiritual evolution envisaged in yoga, namely the waking state (jagrat); dream state (swapna); the state of deep sleep (sushupti); and finally the Highest state of awareness known in Sanskrit as turiya. This evolution takes place as follows:

On reaching the main gateway, the worshipper first bends down and touches the threshold before crossing it. This marks for him the fact that the transition from the way of the world to the way of god has been initiated. Entering the gateway, he or she is greeted by a host of secular figures on the outer walls. These secular images are the mortal, outward and diverse manifestations of the divinity enshrined inside. In this lies a partial explanation behind the often explicit erotic imagery carved on the outer walls of temples like those at Khajuraho, where the deity inside remains untouched by these sensuous occurrences. Such images awaken the devotee to his mortal state of existence (wakefulness). The process of contemplation has already begun.

As he proceeds, carvings of mythological themes, legendary subjects, mythical animals and unusual motifs abound. They are designed to take one away from the dull and commonplace reality, and uplift the worshipper to the dreamy state.
The immediate pavilion and vestibule before the icon are restrained in sculptural decorations, and the prevailing darkness of these areas are suggestive of sleep-like conditions.


Finally the shrine, devoid of any ornamentation, and with its plainly adorned entrance, leads the devotee further to the highest achievable state of consciousness, that of semi-tranquillity (turiya), where all boundaries vanish and the universe stands forth in its primordial glory. It signifies the coming to rest of all differentiated, relative existence. This utterly quiet, peaceful and blissful state is the ultimate aim of all spiritual activity. The devotee is now fully-absorbed in the beauty and serenity of the icon. He or she is now in the inner square of Brahma in the vastu- mandala, and in direct communion with the chief source of power in the temple.

The thought behind the design of a temple is a continuation of Upanishadic analogy, in which the atman (soul or the divine aspect in each of us) is likened to an embryo within a womb or to something hidden in a cave. Also says the Mundaka Upanishad: ‘The atman lives where our arteries meet (in the heart), as the spokes of the wheel meet at the hub.’ Hence, it is at the heart center that the main deity is enshrined. Befittingly thus, this sanctum sanctorum is technically known as the garba-griha (womb-house).

The garbhagriha is almost always surrounded by a circumambulatory path, around which the devotee walks in a clockwise direction. In Hindu and Buddhist thought, this represents an encircling of the universe itself.

No description of the Hindu temple can be complete without a mention of the tall, often pyramid-like structure shooting up the landscape and dominating the skyline.

This element of temple architecture is known as ‘shikhara,’ meaning peak (mountain). It marks the location of the shrine room and rises directly above it. This is an expression of the ancient ideal believing the gods to reside in the mountains. Indeed, in South India the temple spire is frequently carved with images of gods, the shikhara being conceived as mount Meru, the mythical mountain-axis of the universe, on the slopes of which the gods reside.

In North India too, it is worthwhile here to note, most goddess shrines are located on mountain tops. Since it rises just above the central shrine, the shikhara is both the physical and spiritual axis of the temple, symbolizing the upward aspiration of the devotee, a potent metaphor for his ascent to enlightenment.

Conclusion

Man lost the divinity within himself. His intuition, which is nothing but a state of primordial alertness, continues to strive towards the archetypal perfect state where there is no distinction between man and god (or woman and goddess). The Hindu Temple sets out to resolve this deficiency in our lives by dissolving the boundaries between man and divinity. This is achieved by putting into practice the belief that the temple, the human body, and the sacred mountain and cave, represent aspects of the same divine symmetry.

Truly, the most modern man can survive only because the most ancient traditions are alive in him. The solution to man’s problems is always archaic. The architecture of the Hindu temple recreates the archetypal environment of an era when there was no need for such an architecture.


Sunday, August 22, 2010

Pyramids in Indian Temple Architecture



The traditional Indian architecture is extremely simple and straightforward.
The simple techniques of construction were utilized to build some of the glorious and magnificent buildings that have withstood the test of time. Structural elements like columns and beams were carefully integrated within the buildings to meet the needs of religious and cultural traditions. The vast freedom available to the sthapaka and sthapathi in the design of temples and other spiritual buildings resulted in the development of overwhelming wealth of architectural elements, variety of sculptural forms and decorative exuberances that has become the everlasting symbol of Indian Temple Architecture.

Pyramid of Indian Temple Architecture
The shikhara remains the most outstanding element of the temple and the gateway is usually modest. The prakaras or the walls surrounding the garbha griha were built around the whole complex and were oriented to the cardinal directions. These enclosures had elaborate and magnificent gateways (gopurams) that led the devotees into the sacred courtyard.

Even the most worshipped and sacred Sri Chakra or Meru Chakra in hindusim is pyramid shaped.
A temple is the seat of divinity and is also a sacred institution that aims at giving mental and physical solace to the devotee. The Garbhagruha (Garbhagudi) or sanctum sanctorum encompasses the center or the nabhi of the superstructure. From the square shape of the Garbhagruha to the final (which is a point) is the shikara. This curved form is identified in modern times as the pyramid. The shikara normally refers to the superstructure of the sanctum sanctorum and is the most important part of the temple. The pyramidal superstructure has a number of storeys. The shikara can be a square, circular, hexagonal (6 sides) or octagonal (8 sides). The vertical growth of Shikara is also sometimes used to designate the whole superstructure of the temple.

The term Shikara is frequently mentioned at several places in the great epics Ramayana and Mahabharatha when referring to the ‘Prasada’ or temple. While the shikara generally refers to the curvilinear vertical growth of the sanctum sanctorum, the gopurams or gate towers refer to the gateways to the various enclosures and a temple. These are also pyramid shaped and the cross-section is reduced as they go up.

Shikara Rules

Generally the pyramidal superstructure has four or eight triangles joined if the garbhagriha was square or rectangular and round shaped if the sanctum sanctorum was circular. The superstructure was solid or hollow. The shikara generally comprises of three parts:

1 The recessed storeys

2 Enclosure surrounding each storey.

3 The dome (stupi or kalasa) rising above the last storey also called the Vimana or Harmya

In certain temples the shikara is formed by placing a flat roof on four pillars. Another slab is placed over the shikara. Slab upon slab diminishing in size as they go up are placed one above the other, topped by a perforated ring stone, known as the amalaka, forming a step pyramid. The added weight of the slabs keeps the roof in position. Many a time an upper chamber for the shrine was introduced for greatly reducing mass and weight.

The surrounding walls around the sanctum sanctorum, which have gateways or
gopurams, also have pyramid shaped roofs with diminishing tiers as they go up, with the outermost enclosure referred as mahamayada. The immediate enclosure around the garbhagriha, known as the Prasada towers above it like a pyramid with diminishing tiers and is also known as the shikara.
The celestial power drawn through the shikaras gives the deity effulgence and metaphysical power. The shikara apart from being a roof for the sanctum sanctorum is also a symbol of divine sanctity giving significant emphasis to the garbhagriha and the principal deity of the central divinity. The top of the shikara tapers to a finial and is known as the kalasa or stupika. One of the learned writers on Temple architecture says that the height of each storey of the pyramidal superstructure diminishes in arithmetical progression, being one-fourth or one-third less than the lower storey, the ground floor not being included.

Pyramids

Pyramids are synonymous with Egypt. In recent times these structures with four triangular sides standing over a square base have entered the domain of Vastu and are being prescribed for many of the imbalances of a building – residential or business. Egypt is a land of pyramids and we have Egyptologists and pyramidologists doing research and throwing light on the antiquity and mystery surrounding them. Egyptologists are archaeologists who specialize studying the ancient Egyptian artefacts.

The term pyramid is derived from the Greek words pyra meaning fire, light, or visible, and the word midos meaning measures. It is also translated to mean fire at the center. This word perhaps denotes the great hidden power of these structures with a square base and four triangular sides that rise upwards to a finial.
Even though Egypt is synonymous with pyramids, we find them in other parts of the world such as China, Mexico, Spain, France, Siberia, Central America, Greece, Cambodia and other countries. The pyramids of Egypt are traced to at least 4000 years back. The Giza pyramids of Egypt date back to about 2500 B.C. The Giza pyramids are generally identified with three major pyramids – Pyramid of Cheops (Khufu) or the Great Pyramid, the pyramid of Chephren (Khafu) and the pyramid of Mycerinus (Menkaure). This apart the area spread over thirteen acres of land has six or more smaller pyramids. A remarkable feature of the Giza pyramids is that they are aligned with great precision to the cardinal directions.

The lengths of the four sides of the base of the Great Pyramid are amazingly equal measuring an average of 755.5 feet. The great pyramid, known as the eighth wonder of the world is said to have been built over a period of several decades using 2.3 million limestone bricks weighing an average of two and half to fifteen tons each. It rises up to a height of 481 feet. Several theories are put forth on how such these giant blocks were put in place to create the perfect pyramid. One theory tells us that a ramp, straight or spiral, was raised as the construction carried on. These ramps helped in pushing up the blocks into place.

The entrance to the great pyramid is on the north. The pyramid contains four chambers. The King’s Chamber, lying at a height identified with the pyramid’s center, can be reached only through a narrow passage located at the northern face. A number of corridors, galleries and airshafts lead to the chamber. These pyramids served as burial places for the Egyptian Kings known as pharaohs. A series of other chambers are found above the King’s chamber. Each side of the Great Pyramid rises at an angle of 51 degrees 51 minutes to the top. Not only that, each of the sides are aligned almost exactly with true north, south, east, and west. Vastu texts consider the proper orientation to the cardinal directions as of great significance while referring to the Yoni aspect of the Ayadi Shadvargas.

There are many similarities between the Hindu Shikaras and the Egyptian pyramids. We have referred to Step pyramids. In fact, they are similar to the shikaras with the diminishing storeys that is considered in Vastu Shastra. While the Shikaras drew the cosmic energies into the garbagriha to flood the sanctum sanctorum with divinity, the pyramids drew the cosmic energies to preserve the bodies of the Pharoah Kings who were considered divine. In the villages of India, we even find huts that have tops in the shape of pyramids. It is interesting to note that while pyramids are said to keep foodstuff fresh, the prasadams and other offerings in the garbhagriha or sanctum sanctorum of a temple also remain fresh for a long time.

Whether you call it a shikara or pyramid, it is a fact that the shape of these structures influences the flow of energy from the universe and this energy helps in enhancing the overall quality of our life. The most important thing to recognize is that many of their architectural and construction features are similar to that used in Indian temples built thousands of years ago.

It appears that in earlier times people from Egypt and possibly from various other countries did travel to India to learn about its architectural and construction features. A look at the pyramids clearly reinforces the fact that there was a compatible interaction and understanding between the cultures of Egypt and India in the science of Vastu Shastra.

Shri Chakra Yantra with Pyramid Power

Sri Chakra in the Pyramids and in the Indian Temples assuredly channelise the bio-energy continuously. To correct the aura of an individual. To clean a place of unwanted energy interference. Toward off evil. To correct vastu defects. To increase happiness and contentment. To reach one’s goal in life.


In Puja Room


Sri Chakra energised with Cosmic power in the Puja Room helps to protect the home. Also the benefits of visits to several Sri Chakra installed temples is captured in this specially formulated Sri Chakra. The vibration of ancient temples is now here at your home from the puja room. Our body is not only a bio-chemical entity. It is a product of bio-chemical and electro-magnetic energy fields, wrapped by protective and life sustaining bio-energy exchanges with the cosmos. The proper flow of bio-energy is ensured by this Sri Chakra. The pacified system of Sri Chakra calls for no restrictive practices or rituals. It’s very presence uitself is beneficial.

Vishnu Temple - treasure of stone hidden in the jungles (Angkor Wat)

Ancient Indian Temple - Angkor Wat - Cambodia


In the north-east of Cambodia, 300 km from its capital Phnom Penh, can be found the capital of the ancient Khmer empire, Angkor. Hidden during centuries in the middle of the jungle, it was totally isolated from the rest of the world until the year 1860 when French missionaries discovered it.


Angkor
The origin of this city is placed in the reign of Jayavarman ll. (810-850 AD), founder of the Khmer Empire, who initiated the cult of the Hindu deities, and the splendour lasted till approximately the year 1225. The architectural complex, which occupies an extension of 400 km2, is composed of monumental temples built during this period and are a jewel of Indian art. In 1992 the UNESCO named the entire monumental complex of Angkor as forming the Patrimony of Mankind.

The main temples temple groups are Angkor Thom, Ta Prom and Angkor Wat. The oldest ones were built with bricks, in the subsequent ones laterite was used, a coloured mud stone, and the most recent are of sandstone.

What is most striking about the Temple of Ta Prom, the only one that has not been restored, is that nature has been gaining territory and the trees, their enormous roots have invaded the monuments, forming a part of the sculpture complex. In Angkor Thom the temple Bayon is found, which was built in the X11 century under the reign of Jayavarman V11, it has a moat of 100 metres depth and an extension of 12 km, which protected a population of around one million persons.
Indian got statue in Angkor
Its tower of 45 m height is crowned by four enormous sculpted heads and surrounded by 54 minor towers, each of them with four smiling heads that, supposedly, represent the king himself.

The most representative temple of the entire complex is the so called Angkor Wat, dedicated to the Hindu God Vishnu, ordered to be built by the king Suryavarnam II, who reigned between the years 1131 and 1150 AD It is calculated that for the construction of this temple the same quantity of stone was used as for the construction of the big Egyptian pyramid of Cheops, in Gizeh. Thirty years were needed for the construction. This temple is oriented towards the West, contrary to the other temples, which are oriented towards the East. Five towers of perfect symmetry that represent the five hills of the mountain Meru, the house of the gods and the centre of the Hindu universe form it. A moat and three galleries surround the five central sanctuaries. It has the biggest relieves of the world, which narrate histories from the Hindu mythology. The whole complex occupies two square kilometres and is the biggest religious temple in the world.



The sculptures of the temple of Angkor Wat are in good condition since, after the decline of the ancient Khmer Empire, it became a Buddhist temple and was continuously maintained, which has helped in the conservation, contrary to the other temples of Angkor. What it has not escaped, as is also case of the great majority of monuments in the east, has been from plunder and pillage. Even the torsos of the relieves have been taken away, as can be seen in the images.
Complete Angkor Wat 

The history of Angkor Wat goes back to the second century after Christ, an epoch in which the reign of Funan, of Indian origin, was established. Indian traders settled in the area and during four centuries there was an age of prosperity and tranquillity. The site being located in the transit area between China and India, Hinduism and Chinese Buddhism influenced the habitants, which are reflected in their temples, bringing to mind those of the North of India and Nepal.

The reign of Funan fell in the year 600 against the reign of Chenla, ending commerce with India and the empire from Indonesia came to power. In the year 800 the reign of Kambuja was established, the head of which was Jayavarman I, who built several towns close to Angkor Wat, he was responsible for many social changes and increased his empire towards the north and the east. During centuries Kambuja lived a period of prosperity.

The King Suryavarnam, in the year 1000 planned the construction of the city of Angkor, a task continued by his successor, Udayadityavarnam II, who restored several temples and under whose reign Angkor became at the same time a sacred city and the centre of a vast irrigation system. The expansion lasted two more centuries, a period in which the temple of Angkor Wat was built. But in the beginning of the year 1200 the empires of Khmer and Angkor began to decay. The Thai empire emerged as the most powerful of the area and the conquests of the Khmer empire by the Thai empire lead to the definite abandoning of the city of Angkor. The forest became the master during centuries of many of these temples.
Panorama view of Angkor

Since the year 1908 the Conservatory of Angkor is responsible for the maintenance of the temples, depending on the Government of Cambodia. The civil war that lasted 30 years till the seventies, in which the Khmer Rouge massacred many Buddhists as a part of the social reorganisation, did not do much damage to the temples, several temples were moved to museums for their protection.


The temples currently are being restored with the collaboration of archaeologists from all over the world. But the world can today marvel once again at this masterpiece of stone, and among the ruins contemplate the passage of time and so much history and bygone eras.


Tuesday, August 17, 2010

वृन्दावन धाम - Vrindavan - Land of Lord Krishna



चिड़ियों का चहकना, मंदिरों की घंटी, सत पुरुषों का सत्संग जैसे भक्ति रस घुल रहा हो ; हर आत्मा उस में मगन हो यह है खूबसूरती वृन्दावन धाम की | जहां हर बच्चा राधा कृष्णजी का स्वरुप है, जहां पढाई का पहला अक्षर भगवान् श्री हरी के नाम है | यमुनाजी का कल कल करता पानी, फल से लदे वृक्ष, फूलों के झुण्ड, भवरों  की गुंजन, रास लीलाओं के गान; हर आत्मा को श्री राधा कृष्णाजी से जोड़ देता है |

कोई गिरिराज की परिक्रमा कर रहा है तो कोई वृन्दावन की; कोई जा रहा है निधिवन तो कोई वंशीवट; कोई मदन टीर तो कोई मान सरोवर ; कोई भागवत वाच रहा है तो कोई गीता ; कोई भक्तों को भगवान की कथा सुना रहा है तो कोई भगवान् के मीठे भजन गा रहा है; ऐसा लगता है की सब तन मन धन से भगवान के श्री चरणों में अर्पित हो गए हों |

कोई मंदिर की सीडियां धो रहा है तो कोई प्रसाद बाँट रहा है; कोई कीर्तन कर रहा है तो कोई दर्शन खुलने का इंतज़ार कर रहा है | कोई दर्शन करके उस में मगन हो रहा है तो कोई पद्यावाली लिखने में व्यस्त हो रहा है ; कहीं मंदिर में फूल श्रींगार बन रहा है तो कहीं भोग बन रहा है | ऐसा लगता है जैसे आठों पहर भगवान् से शुरू हो कर भगवान् पर ही ख़तम हो जाते हैं |

ना किसी को अपनी अवस्था का ध्यान है न ही समय का यह है सुन्दरता वृन्दावन धाम की | जहां किस रूप में भगवान् मिल जाएँ कुछ पता नहीं ; ऐसी अद्भुत धरती को हम शत शत नमन करते हैं | 

श्री राधा कृष्ण
घुंगराले केश, कमल नयन, श्याम वरन, मोहिनी चितवन, मीठी मुस्कान, गले में वय्जंती माला, जिनके शीश पर विराजे मोर मुकुट, तन लहराए पीत पीताम्बर, चरणों में नुपुर, हाथों में बांसुरी लिए यह नटखट गोपाल जिसे हर गोप गोपी प्रेम से कान्हा बुलाये- वह सब का चित चुरा लेते हैं | 
भोली भाली, चन्द्र वदन, चंचल नयन, सुन्दर मोहिनी स्वरुप, गौर वरन, मधुर मुस्कान, मन मोहिनी, रसिक वन्दिनी, शीश चंद्रिका धारिणी, कनक समान  शोभ्यमान, भूषण बिना विभूषित वृन्दावन धाम की अधिष्टात्री देवी हमारी श्री राधा रानी हैं |
Jai Sri Kisna
 नित्य किशोर और नित्य किशोरी  श्री राधाकृष्ण एक प्राण दो देह हैं | श्री राधा रानी  जिनकी चरण धूलि भी अत्यंत दुर्लभ है; हर सखी के हृदये में विराजती हैं |
श्री हित हरिवंश महाप्रभु द्वारा - श्री हित चतुरासी जी का एक वाक्य -
.......श्री हरिवंश सुरीति सुनाऊं श्यामा श्याम एक संग गाऊँ, राधेश्याम एक संग गाऊँ ; राधा संग नाम बिना नहीं श्याम , श्याम बिना नही राधा नाम....... ||


Located at a distance of 15 km from Mathura in the state of Uttar Pradesh, Vrindavan is another major place of pilgrimage among the Hindus. Also known as Vrindaban, Brindavan, or Brindavana, or Brindaban, this holy place is the site of the original forest or forested region, in which Lord Krishna spent his childhood. It is believed that Lord Krishna was raised there in the cow-herding village of Gokula by His foster parents. Vrindavan is today famous for its numerous temples-both old and new.  Considered to be the abode of Lord Krishna, it is one of India's most holiest cities with more than 5000 temples dedicated to Lord Krishna.

Legend


The name 'Vrindavan' is derived from 'Vrinda', another name for the sacred tulsi (basil) plant. A legend has it that the entire place was a tulsi grove at one time. According to another tradition, it was named after Vrinda Devi, one of Krishna's playmates. The earliest known shrine in Vrindavan is said to have been built by the local gosains in a large garden called Nidhiban, later named Seva Kunj. According to tradition, Emperor Akbar was taken blindfolded inside the grove where he had some kind of a spiritual experience. As a result, he acknowledged the spot as being holy ground. 

The four temples that were built in honour of his visit are Govind Deva, Madan Mohan, Gopinath, and Jugal Kishore. The first is an impressive edifice built in red sandstone. Architecturally this temple is one of the finest in North India. 

However, apart from its history, what keeps Vrindavan alive in the popular imagination of the people is its rich legend and mythology. Vrindavan is considered the place where Lord Krishna spent his early childhood. It was here that Krishna indulged in adolescent pranks with the gopis (milkmaids) in the forests and stealing their clothes while they bathed in the river. 


Places of Interest


Banke-Bihari Temple - Built in 1864, the Banke-Bihari Temple is the most popular shrine at Vrindavan. The image of Banke-Bihari was discovered in Nidhi Vana by Swami Haridas, the great Krishna devotee, belonging to the Nimbarka sect.
Vishram Ghat - It is the most important bathing ghat in Mathura. Lord Krishna is said to have rested here after killing Kamsa, the tyrant king of Mathura. The 'Aarti' being offered in the morning and evening at the riverside is a visual treat to the eyes. It is believed that bathing in the Yamuna on the second day of Kartik is very meritorious which is known as Yama Dwitiya.
Radha Govindaji Temple - Built in 1590, this ancient temple of Vrindavan has a number of fascinating stories to tell. The original Govindaji Deity was removed from this temple and kept in Jaipur when Mughal Emperor Aurangzeb tried to destroy it. This magnificent temple houses a spectacular marble altar adorned with gold and silver and hold the idols of Govindaji in the middle, Lord Chaitanya to His left and Lord Nityananda to His right. A sculptured lotus flower weighing several tons decorates the main hall of the temple and demands a careful look from your side.
Madan Mohan Temple - The Madan Mohan Temple located near the Kali Ghat, built by Kapur Ram Das of Multan. This is the oldest existing temple in Vrindavan today. The temple is closely associated with the saint Chaitanya. The original idol of Lord Madan Gopal was shifted from the shrine to Karauli in Rajasthan for safe keeping, during Aurangzeb's rule. Today, a replica of the image is worshipped at the temple.
Sri Radha Raman Mandir - The Deity of Sri Radha-Raman (one of the few original Deities still left in Vrindavana) was installed here by Srila Gopal Bhatta Dasa Goswami. The Deity manifested from one of the Goswami's shaligram-shilas in 1542. Gopal Bhatta also brought Caitanya Mahaprabhu's kaupina (cloth) and asana (seat ) back from Puri. These can be seen three to four times a year. Gopal Batta's Samadhi is located here. The fires for cooking in the temple kitchen have been burning continuously since the Deity was installed over 435 years ago. 
ISKCON Temple - Located within the Krishna-Baldev Temple premises, the temple wall is adorned with exquisite paintings and carvings depicting the life of Lord Krishna. Beautiful architecture, carved arches and immense spirituality make the place a divine destination in Vrindavan. Be prepared to listen to 'Hare Krishna' as everybody you will meet inside the temple premise will greet you with these two words.
Yamuna River - The Yamuna river flows through Vrindavan and Mathura. It is the most sacred river in India as it is so intimately connected with Krishna's pastimes. Situated on the bank of the Yamuna is the Keshi Ghat, where Krishna killed the Keshi demon and saved his friends. One who bathes here gets the benediction of bathing in all of the holy places.

Getting there and Around

By Air - The nearest airport is Agra which is 57 km away and is well connected to Delhi, Khajuraho and Varanasi by regular flights by Indian Airlines and other private airline services.
By Rail - Mathura Junction is well connected to Delhi by numerous trains including the Punjab Mail and Taj Express, to Mumbai by the August Kranti and Mumbai Rajdhani and to Kolkata by the Toofan Express. The Lucknow-Agra Express also finds Mathura in its route.
By Road - Mathura and Vrindavan are well connected with Agra, Delhi, Bharatpur, Alwar and Lucknow by well maintained road.

Accommodation 

Vrindavan does not have high quality hotels. However, it has nearly 200 dharamshalas (religious hostels) that offer clean, affordable accommodation.

Friday, July 2, 2010

Amazing Temples of India


Beautifully Carved Jain Temple at Palitana, Gujarat


Royal Entrance of Brihadishwara Temple in Thanjavur


Brihadishwara Temple, Tanjore


Architectural Kailasa Temple in Yellora


Lotus Temple, New Delhi


Beautiful Night View of Lotus Temple


Birla Mandir in the capital city of India


Birla Mandir at Jaipur


Mt.Girnar is the sacred place for both Hindus and Jains in Junagadh district, Gujarat


Rich Golden Temple at Amritsar, Punjab

Temple at Gangaikonda Cholapuram


Birla Mandir in complete white marble, Hyderabad


Iskon Temple, Vridavan, Uttar Pradesh



Magnificent Jain Temples at Palitana Hill Top, Gujarat


Beautifully Carved Jain Temples at Palitana, Gujarat

Facinating Khajuraho Temple, Madhya Pradesh


Meenakshi Amman Temple, the historic Hindu temple in Madhurai


Dhynalingam in Coimbatore, Tamil Nadu


Goddess Mahalakshmi Temple also known as Siripuram Golden Temple at Vellore


Jagannath Temple at Puri


Lord Venkateswara Temple at Tirupathi


Iskon Temple also known as Sri Sri Radha Krishna Chandra Temple, Bangalore


Temple at Mahabalipuram Seashore


Kanyakumari Temple, the scene beauty of Tamil Nadu